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新英雄本色
6.7 |昨天00:26 |完結(jié) |共1集
簡(jiǎn)介:
大蝦(劉青云 飾)替名震江湖的老大唐?。ㄠ嵰两?飾)辦事,幫他殺死了叛徒黑牛,很受俊的賞識(shí)。大蝦一怒之下殺了奸夫,俊為他多方奔走才使他脫罪,自此兩人成了莫逆。豈料俊遭到他的親大哥威陷害運(yùn)毒,被警方通緝,無奈只好潛回大陸避難??〉呐牙苯罚ㄇ袷缲?飾)前往找威報(bào)仇,失手被擒后慘遭摧殘?! 赡旰?,俊重回香港,俊發(fā)現(xiàn)大蝦已經(jīng)成為威身邊的大紅人,只是大蝦還不知道當(dāng)日陷害俊的就是威??∪f念俱灰,想就此退隱江湖。大蝦在得悉威就是當(dāng)日的幕后黑手時(shí),發(fā)誓要幫俊報(bào)仇雪恨!
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不安
798
7.0
已完結(jié)
不安
7.0
更新時(shí)間:2025年09月06日
主演:英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特
簡(jiǎn)介:Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.
70
1954
不安
主演:英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特
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